(Digital) Bread and Circuses: Reframing Ancient Spectacle for Different Screens
2014 (English)In: Digital Humanities Australasia 2014: Expanding Horizons / [ed] Paul Arthur, The University of Western Sydney Linda Barwick, University of Sydney Craig Bellamy, University of Melbourne Katherine Bode, Australian National University Erik Champion, Curtin University Arianna Ciula, EADH, London, UK Hugh Craig, Newcastle University Jenni Harrison, University of Western Australia Brett D Hirsch, University of Western Australia Jane Hunter, University of Queensland John Hartley, Curtin University Jo Hawkins, The University of Western Australia Philip Mead, The University of Western Australia Renee Newman-‐Storen, Edith Cowan University Ian Johnson, University of Sydney Nagasaki Kiyonori, The University of Tokyo, Japan Gavan McCarthy, University of Melbourne Sydney Shep, Victoria University Wellington, NZ Tim Sherratt, National Museum of Australia Harold Short, Kings College London, UK James Smithies, University of Canterbury, NZ Nick Thieberger, The University of Melbourne Deb Verhoeven, Deakin University, Perth, Western Australia, 2014Conference paper, Abstract (Refereed)
It is commonplace that screen-based communication – i.e. TV, cinema, computer screens and ubiquitous devices is continuously mediating cultures (Galloway 2004, Giaccardi et al. 2012). Digital reconstruction is the process of graphically representing ideas and objects (Wileman: 1993). This process, however, requires a conceptual picture to be transferred to in a graphical medium. This paper focuses on the potentials of a conceptual digital construction of a Roman Amphiteatre for multiple screens. I argue that while current ‘historically accurate’ digital depictions of Roman amphitheatres are limited to lifeless and sanitized aerial 3D models, a more innovative, multisensory and participatory reconstruction of entertainment sites for multiple screens can elucidate our understanding of historically and geographically remote social and cultural concepts.
I propose new methodological tools for generating discourses that add layers of understanding to our contemporary knowledge of the Roman spectacle. A participatory (embodied- tangible computing) and multisensory (sound and vision) digital recreation of a Roman amphitheatre (along the lines of Betts: 2009, Drucker: 2009, and Favro: 2006) can engineer deeper and constructive analyses of the dynamics and systemic operations regarding [ancient and current] popular entertainment. It can generate questions about the cultural and emotional context of ancient spectacle as well as the potentials and limitations set by our current technological grasp. It can further be applicable in research and education in order to anchor both ’traditional’ research questions, as well as the importance of multiplicity within institutional material infrastructure
Place, publisher, year, edition, pages
Perth, Western Australia, 2014.
Digital Humanities, Visualisation, Senses, Entertainment, Culture
Humanities Engineering and Technology
Research subject Classical Archaeology and Ancient History
IdentifiersURN: urn:nbn:se:umu:diva-88728OAI: oai:DiVA.org:umu-88728DiVA: diva2:716970
Digital Humanities Australasia, 17-21 March 2014, UWA Campus, in Perth, WA.
ProjectsScreens as Material